COPIED
1 mins

Against the grain

A modified beechwood that gives ebony a run for its money

WOOD

The use of ebony for fingerboards, tailpieces, pegs, endpins and chin rests in instrument making has long invited questions about ethical and environmentally friendly sourcing. Swiss start-up company Swiss Wood Solutions claims to have developed a new beechwood product, Sonowood Black, that offers a ‘sustainable alternative’. Beechwood is widely available in central European forests, say head of research and development Munish Chanana and chief product officer Christian Lehringer, but because it is naturally softer and less dense than ebony, it is usually unsuitable for making instrument parts. Through a new ‘thermo-hydromechanical process’, they claim to have modified beechwood so that its acoustic properties resemble those of ebony, by exposing it to high compression forces and temperatures. These, they say, increase the wood’s density to 1,200–1,400kg/m 3 and minimise its natural tendency to swell and shrink.

Swiss Wood Solutions also dyes the wood with natural colouring, to give it a blackish-brown shade. ‘Luthiers choose ebony based on colour, not on acoustics,’ Chanana explains. ‘They test the acoustic properties by trialling different woods once they have purchased them. This is time-consuming.

Instead, we can modify and fine tune wood properties such as hardness and density, so if your instrument is too bright, we can offer a fingerboard that helps to dampen the sound.’

The product comprises only natural colours and compressed, heated beechwood, without the use of any harmful chemicals, because, says Lehringer, ‘it is a material that people touch, so it should not be harmful.’ This being the case, he stresses that this wood, as any other, has inevitable natural variations – although, he adds, ‘we aim to achieve superior or at least equal material properties to ebony.’ Anyone interested in purchasing Sonowood Black can contact Swiss Wood Solutions to discuss preferred technical specifications, prices and quantities.

FEATURED PRODUCT

Swiss Wood Solutions Sonowood Black prices on request email info@swisswoodsolutions.chweb www.swisswoodsolutions.ch

This article appears in November 2021

Go to Page View
This article appears in...
November 2021
Go to Page View
Editor’s letter
ANGELA LYONS When Chad Hoopes won the Junior
Contributors
ITZEL ÁVILA (Making Matters, page 72) is a
SOUNDPOST
Letters, emails, online comments
Open for business
America’s concert halls have flung open their doors to welcome back audiences – who are still showing reluctance to return. What can orchestras do to alleviate their concerns?
NEWS IN BRIEF
‘Musical segregation’: Nigel Kennedy pulls out of Classic
OBITUARIES
SEBASTIAN HESS German cellist Sebastian Hess has died
In a new light
A quartet revelling in the peculiarities of Beethoven
COMPETITIONS
1 Maria Ioudenitch 3 Seiji Okamoto 4 Yo-Yo
Against the grain
A modified beechwood that gives ebony a run for its money
RED HOT
Violin Varnish Italy’s new rosin-based oil varnish uses
FORCE OF NATURE
This plant-based, biodegradable and low-to-medium-traction rosin has been
Life lessons
The celebrated American solo bassist discusses the importance of expression and communication in music making
Back to business
Following 2020’s Summer Season of broadcasts, this year’s Sun Valley Music Festival returned to free live performances, much to the delight of its thousands of fans, writes Laurence Vittes
STATE OF INDEPENDENCE
Chad Hoopes launched his career with a spectacular win aged 13 in the Junior division of the Menuhin Competition in 2008, but in subsequent years, the forward-looking, innately positive US violinist has deliberately taken less obvious paths to musical success, as he tells Toby Deller
A RACE FOR CHANGE
Still now, in the 21st century, black people are inadequately represented within classical music. Pauline Harding talks to string players in America about lingering social oppression and what the wider community can do to bring about progress
SOUNDS LIKE A MATCH?
If someone makes an exact copy of a Stradivari, will it sound like a Stradivari? Sam Zygmuntowicz attempts to answer the question by making duplicates of the ‘Titian’ and ‘Willemotte’ Strads, as well as the ‘Plowden’ Guarneri ‘del Gesù’
A QUESTION OF BALANCE
Italian violinist Fabio Biondi’s new album of Bach Sonatas and Partitas for solo violin marks a unique opportunity to challenge established interpretations and beliefs surrounding these seminal works,
BOWS ON THE BAY
With a large and growing music community, the San Francisco Bay Area became a hotbed of violin and bow making talent in the early 20th century. Raphael Gold tells the stories of the most prominent bow makers of the day
WHEN WORLDS COLLIDE
In the Baroque and early Classical eras a succession of Scottish and Italian composers took an interest in fusing Scots fiddle and song melodies with Italian art music structures. Kevin MacDonald investigates the trend
IN FOCUS: JOHN FRIEDRICH
A close look at the work of great and unusual makers
Making a custom cutter for a Parisian-eye ring
A necessary piece of equipment to tackle an uncommon problem in bow repair
MY SPACE
A peek into lutherie workshops around the world
Fifth harmonies
If 5ths are driving you nuts, it may be to do with your violin nut. Itzel Ávila explains how luthiers can help by customising the piece at the top of the fingerboard to the player’s hand
BRAHMS STRING QUARTET NO.3 OP.67
Richard O’Neill of the Takács Quartet looks at the first and third movements of this well-loved B flat major work, where the viola is thrown into a rare spotlight
Working on open strings
Exercises to help you build up a strong, reliable right hand, with a consistently beautiful sound
CONCERTS
Your monthly critical round-up of performances, recordings and publications
RECORDINGS
THÈME RUSSE BEETHOVEN String Quartet no.7 in F
BOOKS
The Paganini of the Double Bass: Bottesini in
From the ARCHIVE
FROM THE STRAD NOVEMBER 1911 V OL.22 NO.259
JEFFREY SOLOW
Brahms’s First Symphony was the piece that inspired the American cellist to dedicate his career to music, and prompts a reminiscence of his teacher Piatigorsky
Looking for back issues?
Browse the Archive >

Previous Article Next Article
November 2021
CONTENTS
Page 20
PAGE VIEW